Cesar Janssens is an autodidact multi-instrumentalist and composer, and is among the top rank in Belgium. The first band he performed in, The Kids, gained international renown. He is singer songwriter Raymond van het Groenewoud’s drummer since 1991 and as a session musician and live accompanist has played with numerous other artists (Roland, Helmut Lotti, Bart Peeters, Kommil Foo, Ronny Mosuse etc.). He has surprised the theatre world with his very unusual compositions and soundscapes, for productions including Reizen Jihad (SinCollectief) and Hannibal (‘t Arsenaal Mechelen). He joined forces with Junior Mthombeni and Fikry ElAzzouzi to form the collective Jr.cE.sA.r, with whom he produces and created the following : Malcolm X, Drarrie in de nacht, Dear Winnie, Who's Tupac?And Vaderlandloos (Stateless). For these music theater productions he created sound installations and did the musical art direction. In 2020 he started a collaboration (Trillingen / Vibrations) with visual artist Griet Dobbels.
‘Ever since I was a child I was fascinated by the vibration of sound. It took me to another world full of new possibilities. I've always pursued that. I have continued that research ever since. I search for ‘the origin’ and the possibilities it may offer me. Always again. I immersed myself in the world of the shaman who aims to restore your original state with his drums and rituals: the 'healing'. Playing the drums is an earthly, direct vibration, which is performed and experienced very directly. I want to explore how I can acquire a science in this; to be able to pass on the things I see and experience and to transfer this to a new poetic language.
I also look for other media: drawing, painting, print making, ceramics and visual sound installations. They are my informants to a richer vibration which I can share. I prefer to collaborate with others in order to indicate the added value of our society.
Along the way you open your mind and realize by enriching yourself through other disciplines you come closer to an opportunity of a general image that I currently call equality. There is no complete beauty without that equality.
since 2020 I am in a very intense collaboration with visual artist Griet Dobbels in search of vibrational equality. The trajectory of this fellow artist is very closely related to what I aspire, capture, produce and try to pass on. This collaboration is more than hopeful and an opportunity to shift and develop into richer full-fledged unseen/unheard-of works and sounds in the arts. The enthusiasm to continue this collaboration is high. There is a creative vibration. It is a search for possibilities to rearrange codes and irrevocably permanent truths such as equality in all its unseen power.’
“Don't play what I play because I play it already” (Thelonous Monk).